The Advantages of Hybrid Tracking and Mixing
|By PETE MARRIOTT, BRANDONF42088, and AMIR SAID (SA’ID)|
Signal flow is an important part of beatmaking. Yet not all beatmakers invest much thought into the signal chains that they use. Below is a discussion between two BeatTips Community (TBC) members and myself about this particular analog sensibility/digital reality issue.
I’m not sure hybrid is the right term but hell I’m using it anyway to describe my practice of using analog gear like my Tascam M-2600 MKII console to track and mix my sounds to and from the computer. I know my mixing desk is not a Neve, API, Harrison, MCI or SSL but I love the sound I get from it because I know how to make it work for me.
I went back to my analog roots because I needed to return to the kind of workflow that makes sense to me. I didn’t grow up behind a DAW system, it was something that I progressed to from my early days of cutting tape on a block with a razor blade to do my edits. It was hands on and much easier on my eyes because they weren’t glued to a computer screen all day long. I needed to twist knobs and slide faders and push mute and solo buttons and insert patch cables again because clicking the mouse became mundane and it gave me a case of carpel tunnel.
But this not a “I hate digital” post because that is not true at all. I love the power of what I can do in a DAW. I just needed to have a strong sense of what I grew up on and the current technology so I came up with what I call the Hybrid solution to my problem. I don’t know if I’m alone in taking this route but it would surely be nice to know if I’m in good company.
My signal flow for making beats:
Technics 1200—>Vestax PMC 07—>SoundCraft Folio Rac Pac mixer—>MPC 2000xl/S900/EPS-16—>SoundCraft Folio Rac Pac (post fader direct outputs)—>Digi 003R—>Pro Tools—> From here depending on the track I will bounce out a internal layback and sample rate convert.
Then open it in a new session 44.1K 24bit atempt to master the track add dither and bounce out a 44.1K 16bit PCM file.
I sometimes go out of the digi 003 into a cassette tape recorder and record to a cassette then fromt he tape recorder go back into my mixer then to a stereo track in pro tools and bounce out from there.
I eventually want to get a pro 2 or 4 track reel to reel tape machine and a pro cd burner (these are high on my music production grocery list.)
You are certainly not alone. Many beatmakers (and other music-makers) use a signal flow similar to the one you describe here. Like the both of you, I certainly appreciate the power and flexibility that a DAW offers. I use Pro Tools, and I can not stress how much it has helped to streamline my recording process, not to mention the fact that it makes it possible for me to record everything from my home studio.
Before I began using Pro Tools, I was locked into a time consuming and rather expansive studio routine. In order to get my beats/songs on to “tape” or to even secure a better quality CD mix, I would have to book studio time, then lug my gear in. In some cases, I was able to rent my setup, which at the time was an Akai MPC 60 II and an Akai S950. But more often than not, I simply brought my MPC and S950 in with me. And while bringing my gear in was one problem, having a reference mix for the engineer was yet another.
In order to get a reference mix in my home studio, I’d have to record my beats straight to CD (and before that to *cassette*). But after DAWs like Pro Tools became more accessible—and more affordable—, I cautiously invested, and soon embraced them as a viable alternative to my old “studio routine.” (I suspect in this regard, I’m certainly not alone.)
Today I can’t imagine trying to do what I do without Pro Tools, or a comparable DAW. If not for the sheer savings in both time and cost, I’ve embraced DAWs because of the level of control it grants me over my recording process. And while you might *lose* some of the sonic essence (not noticeable to the average listener) when recording into a computer as opposed to let’s say analog tape, I have found—just as you have, and others like DJ Toomp—that I can maintain and simulate that sonic quality (specifically the “umph” and warmth) by tracking through my analog Mackie 32/8 mixing console.
I route all of my gear (external samplers, keyboard, DJ mixer—which absorbs my turntable, CD player, and cassette deck) into my Mackie console. From my Mackie console, I track directly into my Digidesign Digi 002 rackmount interface, which of course, then goes into my computer (Mac G5).
This hybrid approach (I too refer to it that way) allows me to combine and utilize techniques from both the analog and digital realms. In particular, this approach gives me the added advantage of being able to instantly reference the sound that initially comes through my console with the new reality of how Pro Tools “captures” it. In this way, I’m able to mix “in the box” (inside of Pro Tools), in a way that matches—as close as possible—the sonic essence that I’m able to produce through my analog console.Articles, Beatmaking, Beatmaking Education, Beatmaking Themes, Theories, and Concepts, BeatTips, BeatTips Jewel Droppin', Book on How to Make Beats, Customizing Sounds, DAW: Recording and Mixing, Editor's Choice, Features, Hip Hop Production Techniques, Hip Hop/Rap Music Education, How to Make Beats, Making Beats, Recording Hip Hop, Mixing Hip Hop, Mastering Hip Hop, Recording, Mixing, and Mastering, Sa'id, Sound Design, The BeatTips Manual